Posts tagged ‘Carols’

April 18, 2014

Week 139 – There is a Fountain of Christ’s Blood

Last Christmas I was taken to task for failing to mention, when I wrote about ‘This is the truth sent from above’, the version collected, and subsequently arranged for choir, by Ralph Vaughan Williams. That version, noted from a Mr Jenkins at King’s Pyon in Herefordshire, has, I have to admit, a rather wonderful melody. But actually variants of the same melody seem to have been used elsewhere in the Welsh border counties for other carol texts. I have a four-part arrangement which I hope to post some time of a version of ‘On Christmas Night All Christians Sing’, collected in Shropshire by Cecil Sharp, and which is clearly a variant of Mr Jenkins’ tune. And here’s another variant, once again from Herefordshire, recorded in 1909 by Vaughan Williams and E.M. Leather from Mr W. Hancock (or Hancocks) at Weobley.

The tune and first verse of the carol were printed in the Journal of the Folk-Song Society Vol 4 No 14 (1910), alongside numerous other really fine carols collected by Vaughan Williams. The notes for this piece say “Noted by R. Vaughan Williams, from a Phonograph Record”. I have completed the words with a further five verses (out of an available twelve) from A Good Christmas Box, a collection printed at Dudley in the West Midlands in 1847. It would seem that the song was not infrequently classed as a Christmas carol, as can be seen from these examples from the Bodleian and Full English collections, but it’s clearly a Passiontide piece. Referring back to the Journal article, I was glad to see that Ella Leather concurs: she notes

It is a great favourite with Herefordshire singers, and was formerly sung at Christmas, although the subject is clearly the Crucifixion and not the Nativity.

The Fountain Of Christ's Blood, from the Lucy Broadwood Manuscript Collection, via the Full English archive.

The Fountain Of Christ’s Blood, from the Lucy Broadwood Manuscript Collection, via the Full English archive.

Having learned and recorded ‘Jack Williams’ a couple of months ago, this was to have been my second new song of 2014. So far, however, all attempts to din the words into my head have proved fruitless. I have occasionally, when recording songs for this blog, had the words in front of me as a safety net; this is the first time they’ve been an essential prop. I wanted to put the song online now though, as it’s appropriate for Easter, and I’m not sure that I have enough songs to keep this blog going till Easter next year!

There is a Fountain of Christ’s Blood

December 24, 2013

Week 122 – Hymn for Christmas Day / Sellwood Mollineux’ Carol / Newton’s Double

Hark! hear you not a cheerful noise
Which makes the heavens ring with joy

Well happy Christmas everybody. And here to cheer you on your way are live recordings of Magpie Lane singing three Christmas carols with Oxfordshire connections.

First up, ‘Hymn for Christmas Day’ from a nineteenth century Berkshire manuscript. We came across the song quite by chance, towards the end of the recording sessions for our 2006 album Knock At The Knocker, Ring At The Bell. Dave Eynstone, in whose studio we were recording, showed us a hand-written, leather-bound manuscript book which he had recently inherited, and in the front of which was inscribed

Thomas Eynstone  Cotthill  Berks 1840
Late of Drayton who Departed This Life
January February the 7th 1876
Aged 65 years

Alfred Eynstone  Black Horse  Berks 1876

Thomas Eynstone was an agricultural labourer from Cothill – just West of Abingdon – which has actually been in Oxfordshire since 1974. His manuscript book contains over 175 religious pieces – metrical psalms, anthems, and three pieces entitled ‘Hymn for Christmas Day’, one of which (No. 25) is Joseph Stephenson’s well-known ‘Hark, Hark What News’. This piece is No. 26, and it was completely new to me at the time. Subsequently, however, I found that the New Oxford Book of Carols also had a version, taken from A Book of Psalmody, published by Matthew Wilkins of Great Milton in Oxfordshire c.1760. Apart from the fact that the words were set to music twice by the American composer, William Billings, the NOBC editors had very little information on the piece. In Dave Townsend’s recently published Oxfordshire Carols he has transcribed ‘Hark, Hear You Not’ from A Collection of Church Musick, published by Elizabeth Wilkins, c.1775 – this would appear to be either Matthew Wilkins’ widow, or his daughter (they were both called Elizabeth). Dave doesn’t have anything to add on the provenance of the piece, but notes that it has now been found in another Oxfordshire West Gallery manuscript, belonging to Richard Herring of Marsh Gibbon.

Googling “Hark! Hear You Not A Cheerful Noise?” yesterday afternoon, however, I came across a YouTube “video” where someone had uploaded the recording of the hymn from our CD Knock At The Knocker, Ring At The Bell. Putting to one side the fact that this breaks various copyrights (and no, adding a disclaimer “This video is for entertainment purposes only. I do not own the copyright for the music or image used in this video” does not get you off the hook) there was an intriguing note that it was “Written by English composer William Knapp (1698-1768) in 1744, appearing in the musical work entitled “Anthems for Christmas Day””. My first reaction was “No, that’s wrong”; but further Googling revealed that it does indeed appear to be the case. Francis Roads has compiled a list of Knapp’s works which shows that ‘Hark! Hear you not a chearful noise? An hymn for Christmas Day’ appeared in Knapp’s Anthems for Christmas Day (London 1744).  Now the Christminster Singers are very big on Dorset composer William Knapp – indeed we recorded an entire CD of his compositions. It would appear that recently, and not for the first time, we have been singing and enjoying one of his works without realising that he was the composer. Of course copyright law was not very fully developed in the eighteenth century, and Matthew Wilkins, like other publishers of “West Gallery” collections, seems to have had no qualms about reproducing works by composers such as Knapp in his printed books.

You can hear a MIDI version of William Knapp’s setting at (you’ll need the free Sibelius Scorch plug-in to play it). The Knapp, Wilkins and Eynstone versions are very similar: but the first two have four harmony parts while Thomas Eynstone’s has only three, and the parts are all subtly different; it looks to me as though the carol may have been passed via the oral tradition, rather than simply copied from book to book.

Hymn for Christmas Day, Nos 25 and 26, from Thomas Eynstone's MS.

Hymn for Christmas Day, Nos 25 and 26, from Thomas Eynstone’s MS.

Hymn for Christmas Day, Nos 25 and 26, from Thomas Eynstone's MS.

Hymn for Christmas Day, Nos 25 and 26, from Thomas Eynstone’s MS.














The other two pieces here are taken directly from Dave Townsend’s Oxfordshire Carols, although Ian and I have been singing both for a while, either with the Christminster Singers, or as guest vocalists with the Mellstock Band.

‘Sellwood Mollineux’s Carol’ is a bit of an oddity, not least because it is in 5/4. Now there are numerous examples of English folk carols which are wholly or partly in 5/4, but I can’t think of another example from the West Gallery canon. Indeed, in Matthew Wilkins’ A Book of Psalmody, from which this is taken, it is barred in common time – but, as Dave realised when transcribing the piece, it is quite clearly supposed to be in five-time. Wilkins has it as a setting for Psalm 145, “I will extol you, my God and King, and bless your name for ever and ever”.  But there is a copy of the Wilkins book which is inscribed “Sellwood Mollineux 1775”, and in that copy this piece is marked “Carol tune”. In the absence of any other information, Dave decided to use the tune as a setting for Philip Doddridge’s text ‘Hark, The Glad Sound! The Saviour Comes!’. The Mollineux family, incidentally, were farmers in the Great Milton area; Sellwood is, I think, an unjustly neglected first name, due for a revival (although I wouldn’t necessarily wish it on any of my own children!).

Finally, ‘Newton’s Double’, from William Walton of Adderbury. In the 1910s Walton provided local folk-song collector Janet Blunt with numerous songs, information about the Adderbury Morris, and West Gallery style carols. He had sung the old carols, first as a boy, then as a man; and remarkably could recall all of the harmony parts from his youth. Blunt had trouble working out how the parts of this fuguing piece fitted together, but Dave Townsend has reconstructed it with reference to other sources, in particular the 1836 James Martin MS from Poole.

Hark! The Herald Angels Sing (Newton's Double), collected by William Walton of Adderbury by Janet Blunt; from the Full English archive.

Hark! The Herald Angels Sing (Newton’s Double), collected by William Walton of Adderbury by Janet Blunt; from the Full English archive.

Hark! The Herald Angels Sing (Newton's Double), collected by William Walton of Adderbury by Janet Blunt; from the Full English archive.

Hark! The Herald Angels Sing (Newton’s Double), collected by William Walton of Adderbury by Janet Blunt; from the Full English archive.

























The recordings of ‘Sellwood Mollineux’ Carol’ and ‘Newton’s Double’ were made at this year’s annual Magpie Lane Christmas concert in the Holywell Music Room, Oxford. We were joined for these by our friends from Eynsham, Tom Hillman, Toby Goss and Simon Headford. Many thanks to them and, of course, to Dave Townsend for making us aware of these fine carols.

Hymn for Christmas Day

Magpie Lane, recorded at the Roman Catholic Church of St. Dunstan, Woking, 8th December 2012.

Jon Fletcher, Marguerite Hutchinson, Andy Turner, Ian Giles, Mat Green – vocals
Sophie Thurman – cello

Sellwood Mollineux’ Carol

Magpie Lane, recorded at the Holywell Music Room, Oxford, 14th December 2013.

Jon Fletcher, Sophie Thurman, Andy Turner, Ian Giles, Mat Green, Tom Hillman, Toby Goss and Simon Headford – vocals

Newton’s Double

Magpie Lane, recorded at the Holywell Music Room, Oxford, 14th December 2013.

Jon Fletcher, Sophie Thurman, Andy Turner, Ian Giles, Mat Green, Tom Hillman, Toby Goss and Simon Headford – vocals

December 16, 2013

Week 121 – Saint Stephen / Rejoice and be Merry

‘Saint Stephen’: a song about a man who gets stoned on Boxing Day…

I first heard this carol on the Peter Bellamy LP The Fox Jumps Over the Parson’s Gate, and was then pleased to find the words in The Oxford Book of Carols. My friend Mike and I used to sing this in the late seventies. As I recall, he sang the bass line as printed in the book. I revived it in the early days of Magpie Lane: it’s on our 1995 CD Wassail, with Di Whitehead playing a rather funky cello line of which I was very proud at the time.

The notes in the Oxford Book state that the tune and last two verses were taken from William Sandys’ Christmas Carols Ancient and Modern (1833), with the first three verses from Davies Gilbert’s Some Ancient Christmas Carols (1823).

St Stephen - from William Sandys

St Stephen – from William Sandys “Christmas-tide, Its History, Festivities and Carols, With Their Music” (London: 1852), via

‘Saint Stephen’ is, appropriately enough, number 26 in the book. On the previous page is ‘Rejoice and be merry’, under the title ‘A Gallery Carol’. This is one of two pieces in The Oxford Book of Carols “from an old church-gallery book, discovered in Dorset… by the Rev. L.J.T. Darwall”. The musical setting given is, as I understand it, by co-editor Martin Shaw; it’s a shame that the original harmonies from the church gallery book have not been preserved.

I have a feeling that I sang this one year in a carol service with my school choir, although it’s possible that – having spotted songs  like ‘King Herod and the Cock’ and ‘King Pharim’, which I knew from Watersons LPs – I may just have picked this out, leafing through the book, as a carol worth investigating. Either way, I’ve been meaning to learn it for 35 years or more, and have finally got round to it.

Paolo Uccello - Stoning of St Stephen, from Wikimedia Commons.

Paolo Uccello – Stoning of St Stephen, from Wikimedia Commons.

Saint Stephen 

Andy Turner: vocals, C/G anglo-concertina

Rejoice and be Merry

Andy Turner: vocals, G/D  anglo-concertina

December 7, 2013

Week 120 – The Shepherds Amazed

Dave Townsend found this carol in a handwritten manuscript compiled around 1814 by James Bridcut, from the village of Marsh Baldon, about 5 miles South of Oxford. It is one of many fine and rousing pieces included in Dave’s recently published Oxfordshire Carols (£8.50 from Serpent Press, and highly recommended). We’ve been singing ‘The Shepherds Amazed’ probably for twenty years now with the Christminster Singers, and it’s been a joy, the last two Sundays, to sing at workshops run by Dave using material from the new book. The noise made by forty-odd people blasting out ‘Lyngham’ or ‘High Let Us Swell’ in a confined space reminded me, if I needed reminding, of the visceral power of massed voices, and of how much I enjoy unrestrained choral singing. It was pretty special, too, to sing half a dozen carols in the atrium of the Ashmolean Museum in Oxford (I was standing more or less where the woman is standing, at the foot of the kouros in this picture).

Dave’s notes to this song say that the carol was first published in John Geary’s Fifteen Psalm Tunes, 1781. Geary was organist at Caldecote in Warwickshire. I see – from that, like last week’s carol, ‘The Shepherds Amazed’ was included in Bramley and Stainer’s Christmas Carols New and Old (with a completely different minor key tune);  and also in the Rev. Edgar Pettman’s The Westminster Carol Book, 1899 (with a different tune again). Although different from each other, all three tunes are in 3/4 time.

In James Bridcut’s book the carol is written out as tune plus bass for the verses, then in four parts for the chorus. My concertina part retains the chordal structure of the piece, without attempting to recreate individual vocal lines.

The Shepherds Amazed by Gilbert Spencer, Leeds Art Gallery.

The Shepherds Amazed by Gilbert Spencer, Leeds Art Gallery.

The Shepherds Amazed

Andy Turner: vocals, C/G anglo-concertina

December 1, 2013

Week 119 – The Seven Joys of Mary

It’s December 1st, it’s the first Sunday in advent, and I’ve spent the afternoon singing West Gallery carols: I think the time has come when I can start posting some Christmas songs to this blog.

I learned this one from Maddy Prior and June Tabor’s Silly Sisters LP. That album was released in 1976. I suspect that I was given it as a birthday present the following year, and have no doubt that the carol was in our repertoire that Christmas when my friend Mike and I went out “wassailing” around Ashford and Saltwood in Kent. Actually, it’s not particularly Christmassy – in fact, given that it ends with Christ’s crucifixion and ascension to “wear the crown of Heaven”, I suppose it could be classed as an Easter carol.

Seven seems to be the standard number of Joys. But with Magpie Lane we do a ‘Nine Joys’ collected by Vaughan Williams in Essex, while Tim Van Eyken does a Cornish ‘Twelve Joys’, and ten was also apparently an acceptable numbner. I had a recollection that at one point the number of joys reached fifteen, and the members of Magpie Lane have passed many a happy hour trying work out what the rhymes might be for thirteen, fourteen and fifteen (other than “contrived”). But alas, having just read through the very detailed and informative notes to the song in The New Oxford Book of Carols, it seems I may have made that up.

The notes to Silly Sisters say that Maddy and June had the song from lovely Cornish singer Vic Legg. Their version is basically the same as that in the Oxford Book of Carols, which was actually reproduced  from Christmas Carols New and Old (1867) by the Reverend H. R. Bramley, a Fellow of Magdalen College, Oxford, and Dr. John Stainer, organist at the same college. It’s also pretty much the same as the version collected by Cecil Sharp from the Kentish singer James Beale’s daughter Alice Harden in 1911 (one of three carols Sharp had from her).

Seven Joys Of Mary, collected by Cecil Sharp from Alice Harding. From the Full English archive.

Seven Joys Of Mary, collected by Cecil Sharp from Alice Harding. From the Full English archive.

The Seven Joys of Mary

Andy Turner: vocals, C/G anglo-concertina

December 24, 2012

Week 70 – The Boar’s Head Carol / Babes in the Wood / The King

Bringing in the Boar's Head at The Queen's College, Oxford, from the

Bringing in the Boar’s Head at The Queen’s College, Oxford, from the “Illustrated London News,” 24 December 1846.

Here’s a Christmas cornucopia, featuring three songs which I have known and loved for a very long time indeed.

I learned ‘The Boar’s Head Carol’ from the Oxford Book of Carols, prompted I think by my friend and singing companion Mike Eaton. I couldn’t swear to it, but I think this was already part of our “wassailing” repertoire before we heard the Steeleye Span recording (it was their Christmas single in 1977). And I reckon I’ve sung it every Christmas since. It’s been in the Magpie Lane repertoire since the very beginning, and is included in our Christmas set pretty much every year; the recording posted here is another from our recent Woking concert.

The carol was apparently first published in 1521 by Wynken de Worde in Christmasse. It has been sung annually at a feast in the Queens College, Oxford  – originally on Christmas Day itself, more recently on a Saturday in the weeks preceding Christmas. The following description, from William Henry Husk’s Songs of the Nativity (1868), is reproduced from

This is a modernized version of the preceding carol [#4: The Boar’s Head In Hand Bring I], and owes its chief interest to the circumstance of its being still annually sung on Christmas Day at Queen’s College, Oxford, where the custom of bringing the boar’s head to table on that day has been uninterruptedly maintained.

The new version was in all probability made and introduced into use about the commencement of the last century, as it is palpably referred to by Hearne in a note on the older carol, which he printed amongst the “Notæ et Spicilegium,” appended to his edition of William of Newbury’s Chronicle of 1719 stating that “it will be perceived how much the same carol is altered as it is sung in some places even now from what it was at first.”

The ceremony now attending the bringing in the boar’s head at Queen’s College is as follows: — The head (the finest and largest that can be procured) is decorated with garlands, bays, and rosemary, and is borne into the Hall on the shoulders of two of the chief servants of the college, and followed by members of the college, and by the college choir. The carol is sung by a member (usually a fellow) of the college, and the chorus by the choir as the procession advances to the high table, on reaching which, the boar’s head is placed before the Provost, who sends slices of it to those who are with him at the high table; and the head is then sent round to the other tables in the hall and partaken of by the occupants.

…and the solo singer gets to keep the orange out of the boar’s mouth, apparently.

You can find details on the historical background to the tradition of Boar’s Head feasts in general, and at the Queen’s College in particular, in the New Oxford Book of Carols. The following, from Husk, is reproduced here solely to amuse; not because it is likely to have any basis in historical fact!

There was an amusing tradition formerly current in Oxford concerning the boar’s head custom, which represented that usage as a commemoration of an act of valour performed by a student of the college, who, while walking in the neighbouring forest of Shotover and reading Aristotle, was suddenly attacked by a wild boar. The furious beast came open-mouthed upon the youth, who, however, very courageously, and with a happy presence of mind, thrust the volume he was reading down the boar’s throat, crying, “Græcum est,” and fairly choked the savage with the sage.

It is perhaps slightly odd that a carol associated solely with an archaic tradition in a single Oxford College – and half of which is in Latin – should have become so well known on the folk scene, and I’m not sure when or how this happened. I suppose some might say that this is evidence of just how divorced the folk revival is from the genuine music of the people. But you could also argue that all it really shows is that folk club singers love a good chorus song, and if it’s singable they don’t care where it comes from.

Cover of Babes in the Wood illustrated by Randolph Caldecott (1846-1886), from the Project Gutenberg EBook of The Babes in the Wood.

Cover of Babes in the Wood illustrated by Randolph Caldecott (1846-1886), from the Project Gutenberg EBook of The Babes in the Wood.

‘Babes in the Wood’ is from the repertoire of the Copper Family. It tells of two infants who wander out in the woods, get lost, and die – what could be more festive? Of course the story forms the basis of a pantomime (although I have to admit it’s not one I’ve ever seen performed). But the reason this is considered a seasonal song is because of its place in the Copper Family’s Christmas eating and music-making schedule.

Here I was going to type up Bob Copper’s description of family Christmasses, from his book A Song for Every Season; but in the event I found the following largely similar account already online, apparently the sleevenotes to a Folk-Legacy LP, Bob and Ron Copper – English Shepherd and Farming Songs.

But of all times in the year, of course, Christmas was the season when all members of the family congregated at Grand-dad’s home at Rottingdean.
That little cottage would fairly bulge with aunties, uncles, and cousins that we only saw at Christmastime. On Christmas morning, Ron and I had to take the gigantic turkey and a great round of beef down to the village bake-house to be cooked. It was all far too large to be put into the cottage oven.
We used to carry it on a home-made wooden affair about six feet long which resembled a stretcher and, walking slowly down the High Street with our load draped in white linen sheets, we must have presented a somewhat gruesome and disconcerting sight. At dinner time, everyone seemed to be flocking round Grand-dad who, as hub of the family, was in a grand, benevolent and expansive mood, smoking a cigar in his favourite holder and sporting a fancy waistcoat — the one with the cat1s-eyes buttons. Everyone was talking, hardly anyone listening, and there was a rich smell of Christmas pudding, cigar smoke and wine, all of which added up to that warm, cheerful, friendly atmosphere I have always associated with the “spirit of Christmas”.

After dinner, the older folk would doze in front to the fire, but we used to go for a walk to try to work up an appetite for tea, It was important to have plenty of room for a good tea because every mince pie we ate was supposed to ensure a happy month in the coming year. But with the best will in the world after such a dinner, twelve would be beyond the capacity of even the most enthusiastic. I have managed seven or eight, which would take me through July or August, but by that time my trouser buttons would be so tight that, reluctantly, I had to leave the rest of the year to look after itself.

About seven in the evening, grouped in a wide circle round the fire, we would all settle down to start singing. Only carols and Christmas hymns were allowed up until midnight. After that — when it was officially Boxing Day — the rest of the extensive repertoire came into its own. Towards 1 A.M. the ladies started to lay the supper — and what a supper! There was a great round of cold underdone roast beef, a ham and a vast cold rabbit pie covered with golden crust, laced with a flank of bacon and the best part of a dozen hard-boiled eggs all set in a rich, thick jelly. During supper, we always sang “The Babes in the Wood” and, when everyone had a full plate set in front of them, Granddad would strike up, “Oh, don’t you remember…” and we would all join in, interspersing singing with eating and vice-versa, ingeniously maintaining a steady continuity of both. It was really a work of art and only came after years of practice, this singing in relays. I can see Grand-dad now, finishing a line of the song with a piece of rabbit pie poised on his fork, handing over the song to Uncle Tom and consuming the mouthful of pie before taking up the tune again, two lines later, and so on until the song and most of the supper was over. By this time some of us younger ones were practically crying into our supper plates from grief over the story. This custom went on for years and was continued long after the old man’s death.

In A Song for Every Season Bob comments at this point “One cannot help thinking that in the interests of everyone’s digestion it was a good thing song had only three verses”.

So there you have a song for the approach to Christmas, one to accompany your Christmas Day supper of cold rabbit pie, and finally ‘The King’, a song to accompany (or perhaps replace) your Boxing Day wren-hunting expedition.

1869 replica of an early nineteenth century Pembrokeshire wooden wren house, From the People's Collection Wales.

1869 replica of an early nineteenth century Pembrokeshire wooden wren house, From the People’s Collection Wales.

Why people in various parts of Britain should have got into the habit of hunting a wren on St Stephen’s Day I really don’t know. There are numerous theories on the internet, and just because they’re all implausible doesn’t mean that one of them isn’t true.

I recently came across a good article which, in a few pages, gives an overview of the various forms which wren-hunting traditions took, and the songs which accompanied them. This is Hunting the Wren by Phyllis Kinney, in Welsh Music History Vol. 6 (2004) and it’s well worth a read.

In Pembrokeshire, where this song comes from, the wren, once captured, formed the centrepiece of a house-visiting custom which dates back at least as far as the late seventeenth-century. Edward Lhuyd, scholar and antiquarian, wrote

They are accustomed in Pembrokeshire etc. to carry a wren in a bier on Twelfth Night; from a young man to his sweetheart, that is two or three bear it in a bier [covered] with ribbons, and sing carols. They also go to other houses where there are no sweethearts and there will be ale etc. And a bier from the country they call Cutty Wran.

Phyllis Kinney also quotes this description by Reverend John Jenkins (‘Ifor Ceri’, 1770-1829) of a similar custom in Cardiganshire:

In the Vicinity of Cardigan the following Singular Custom prevails and which is probably of Druidical origin: On the Night of the Fifth of January a Certain Number of Young Men, generally four, take a Wren which is considered a Sacred Bird, and confine him in a cage (which they call his Bier [Elor]) decked with all the Ribbons they can procure from the Girls of the Neighbourhood. With the Wren thus gaudily housed they visit the Families of the District, singing alternate Stanzas in his praise as King of the Birds and as procuring for them many Blessings during the ensuing Year, on account of his being made a Captive and a Victim.

‘The King’ was recorded from two retired schoolteachers, Dorothy and Elizabeth Phillips, from Hook in Pembrokeshire.

They also gave first-hand reminiscences of the custom, which they remembered from the 1920s. The wren-party would go to ‘any manor houses in the neighbourhood where they would have food and drink and sometimes money’, during the period between 6 and 12 January, which they called ‘Twelfth-Tide’. The wren-house was ‘a little wooden cottage and dressed with ribbons really crêpe paper and the wren was inside and when they entered the house of course they all looked in and wanted to see the king.

The date of this recording is given as 1981, but I’m assuming this was a return visit and that these were the same “two old ladies in Pembrokeshire” from whom Andy Nisbet collected the song in the 1960s.

Martin Carthy has recorded this song at least three times in different settings. I learned it, as I’m sure many others did also, from the Steeleye Span album Please to see the King. But Martin had already recorded it with Dave Swarbrick on Prince Heathen (1969). In fact Norma Waterson told me that, a few days after Martin had first heard ‘The King’ from Andy Nisbet, he happened to meet the Watersons at a festival – and immediately taught them this song! A decade or so later, of course, Martin was a a member of the Watersons, and they recorded ‘The King’ on Sound sound your instruments of joy.

I’d always thought of it as an unaccompanied harmony song, but in the mid-90s I found myself playing around with it on concertina, and found that it fitted a treat in F on the C/G anglo – which happened to be more or less the key that Ian Giles wanted to sing it in. So it became a Magpie Lane number, and we recorded it on our first Christmas CD, Wassail. Though I say so myself, I was rather pleased with the unexpected chord sequence and duetting clarinet parts at the end of that recording.

Although both ‘The King’ and ‘Babes in the Wood’ are Magpie Lane favourites, here I sing them solo, accompanied on my clacketty old wooden-ended baritone Bb/F box.

Happy Christmas, one and all.

The Boar’s Head Carol

Magpie Lane, recorded at the Roman Catholic Church of St. Dunstan, Woking, 8th December 2012.

Sophie Thurman, Ian Giles, Andy Turner, Jon Fletcher, Marguerite Hutchinson, Mat Green – vocals

Babes in the Wood

Andy Turner – vocals, baritone Bb/F anglo-concertina

The King

Andy Turner – vocals, baritone Bb/F anglo-concertina

December 17, 2012

Week 69 – This is the truth sent from above

The truth sent from above, from the Bodleian collection: T. Bloomer, Printer, 53, Edgbaston-street, Birmingham, between 1821 and 1827.

The truth sent from above, from the Bodleian collection: T. Bloomer, Printer, 53, Edgbaston-street, Birmingham, between 1821 and 1827.

I got this – and a number of other goodies – on a carol-collecting expedition to the Vaughan Williams Memorial Library ten or so years ago. I had the song from Cecil Sharp’s Folk Tunes MS. He noted it down in October 1911  from seventy-one year old Samuel Bradley (not Bradley Wiggins, as I mistakenly announced at a recent concert) and seventy year old Seth Vandrell at Lilleshall in Shropshire. His notes in the MS say “Always sung to this tune. Learned many years ago”.

Sharp published this carol, and at least a couple of others noted on the same 1911 collecting trip, in his English Folk Carols – and he can’t have wasted any time preparing these songs for inclusion since the book was published late the same year.

The notes in the book say

This carol was sung to me by the two singers in unison, Mr. Vandrell refreshing his memory by referring to a small book of carols, printed locally, from which the words in the text have been transcribed. I have, however, omitted seven stanzas between the eighth and the last. “The Truth” is printed in A Good Christmas Box, and is included in Hone’s list [Christmas Carols now annually Printed].

(Incidentally, for those who are interested in such things, the carol as collected by Sharp did not have an anacrusis on the first verse, in contrast to the way it was rendered in the published book)

I’ve omitted even more of the sixteen stanzas – I use only those printed in the Oxford Book of Carols. I don’t know if the carol words have a West Midlands origin, but that this might be the case is suggested by the opening couplet of one verse

Then after this, ‘twas God’s own choice
To place them both in Paradise

which would be a perfect rhyme if sung in a Brummie accent!

This song was included on the Magpie Lane CD Knock at the Knocker, Ring at the Bell. I’ve posted up two versions (although basically the same arrangement): the first is just me and concertina, the second is the full band, recorded a couple of weeks back in the  generously reverberant acoustic of the Roman Catholic Church of St. Dunstan, Woking.

This is the truth sent from above

Andy Turner – vocal, C/G anglo-concertina

Magpie Lane, recorded at the Roman Catholic Church of St. Dunstan, Woking, 8th December 2012.

Andy Turner – vocal, C/G anglo-concertina
Jon Fletcher – bouzouki, vocal
Sophie Thurman – cello
Mat Green – fiddle
Marguerite Hutchinson – flute

December 9, 2012

Week 68 – Lo! The Eastern Sages Rise / Hark Hark What News

In Under the Greenwood Tree Thomas Hardy describes how a bunch of church band musicians found that their services were no longer required. The same thing was happening in country churches all over the country, as reforming parsons, fired up with the evangelical zeal of the Oxford Movement – and a desire to make their parishes more respectable – got rid of the old, independent-minded musicians, and replaced them with an organ, or a harmonium, or a barrel-organ, and Hymns Ancient and Modern. In many places the old way of singing just disappeared, but it survived in carol-singing traditions in a few places, most notably in certain South Yorkshire villages and at Padstow in Cornwall. The main difference between  the traditions in those places is that in Padstow they go out carol-singing in the streets, while in villages around Sheffield the carollers have found a welcome home in the pub – places like the Fountain Inn at Ingbirchworth, the Royal Hotel at Dungworth, and the Traveller’s rest at Oughtibridge.

I learned ‘Hark Hark What News’ from a wonderful LP, A People’s Carol, which featured recordings made in the 1970s by Ian Russell at those three pubs, and – in this case – the Black Bull at Ecclesfield. Like all Leader and Trailer LPs, A People’s Carol has long been unavailable, but those traditions and others from the same geographical area are represented on a CD released on the Smithsonian Folkways label, English Village Carols: Traditional Christmas Carolling from the Southern Pennines. ‘Hark Hark’ is on that CD, but it’s the earlier recording which would be one of my Desert Island Discs. Partly because of the presence of a local brass band on verses 1 and 3; but also because, as the singing dies away, a voice off-mic can be heard to say, in a broad Yorkshire accent, “grand old one!”. It is a grand old one, and that comment somehow seems to capture the value which people assign to their local community carolling traditions and, indeed, the importance of all such community traditions, whether involving song, dance, drama or bizarre old customs which are often just plain daft!

Ian Russell’s notes to the Folkways CD say that this

is the only carol to be repeated during the evening, “Hark, Hark! For latecomers.” It has been sung in the village for as long as anyone can remember. The music is attributed to John Hall of Sheffield Park, a blacksmith who dies in the poorhouse in 1794, and it was probably included in his “Selection of Sacred Music on the Nativity” performed at the Hospital Chapel, Sheffield, 26 December 1792. The text appears in broadsheets and chapbooks from the early nineteenth century, but its author is unknown.

'The star of Bethlehem', printed by W. Wright. (Birmingham) between 1831 and 1837; from the Bodleian collection ‘The star of Bethlehem’, printed by W. Wright. (Birmingham) between 1831 and 1837; from the Bodleian collection

‘Lo! The Eastern Sages Rise’ is sung at Coal Aston in Derbyshire, but this version is derived from the way it is still sung today at Padstow.  I was first introduced to the carol, and Cornish carolling traditions, by Graham Kirkham in the late 1980s. It was included on the Veteran tape Rouse, Rouse, a collection of Doc Rowe’s recordings from Padstow released in 1988. That cassette was superseded a few years later by the CD Harky, Harky. I’m not sure if that’s still available, but if it is do try to get hold of a copy, as the singing (and the songs) are quite wonderful.

The carol words were written by Jehoiada Brewer (1752?-1817), a Congregational (Independent) minister at Queen Street Congregational Church, Sheffield and Carrs Lane Congregational Chapel, Birmingham; they are set to a tune by Samuel Stanley (1767-1822) of Birmingham. The words – including some verses not retained in oral tradition – can be found on two broadsides printed in Birmingham in the first half of the nineteenth century, and available from the Bodleian Library’s Broadside collection. In both cases the song is entitled The Star of Bethlehem, and the first line is given as “Lo! the Eastern image rise”.

The carol has strong connections with Cornwall: there was a version in Ralph Dunstan’s The Cornish Song Book (1929), and Dunstan notes

This Carol was formerly very popular in the Parishes of St. Agnes, Mithian, and Perranzabuloe — and is still sung there. Variants of the tune exist, with interpolations. The version given here is from the most reliable MS. collections of 1840-1850.

It also travelled with Cornish miners to America – for instance to New Almaden in California, where many Cornish men worked in the quicksilver mines:

Besides singing in the mines, the Cornish miners would sing door to door beginning a week before Christmas. They sang songs popular in Cornwall, England, where they immigrated from, such as “Lo the Eastern Sages Rise,” “Hark What Music Fills Creation,” as well as the better known “Hark! The Herald Angels Sing.” Afterwards, they would visit with the residents and share saffron cake and tea.

from the Almaden Times, December 22, 2005

The two recordings here are hot off the press – recorded at a Magpie Lane concert at the Roman Catholic Church of St. Dunstan, Woking. The term a capella is very loosely – and often erroneously used – these days. But given the acoustics of this church, I think we really were singing a capella last night – I have certainly not needed to added any reverb to these recordings!

We were, incidentally, very pleased to be joined on stage by former Magpie Marguerite Hutchinson, who had helped to organise the concert – thanks Marguerite.

Lo! The Eastern Sages Rise

Magpie Lane, recorded the Roman Catholic Church of St. Dunstan, Woking, 8th December 2012.

Jon Fletcher, Sophie Thurman, Marguerite Hutchinson, Andy Turner, Ian Giles, Mat Green – vocals

Hark Hark What News

Magpie Lane, recorded the Roman Catholic Church of St. Dunstan, Woking, 8th December 2012.

Jon Fletcher, Sophie Thurman, Andy Turner, Ian Giles, Mat Green – vocals

December 2, 2012

Week 67 – Lazarus

'Job, the patient man' - ballad sheet from the Bodleian collection

‘Job, the patient man’ – ballad sheet from the Bodleian collection

Now that we’re into advent, I think I’m allowed to post a carol. Actually, although this is a carol, there’s nothing particularly Christmassy about it; like a lot of folk carols it focuses more on the importance of leading an upright, Christian life.

The carol is better known I think as ‘Come all you worthy Christian men’, while the editors of the Oxford Book of Carols gave it the title ‘Job’. This version is in the Francis Collinson collection, accessible via the EFDSS Take Six archive. It was “collected from Mrs Lurcock of Bredgar, Kent, and noted down by Miss Alice Travers of Bredgar”. George Frampton, who first brought Collinson’s Kentish MSS to my attention, has the singer as Frances Lurcock, and I’ve no doubt he has done the research to back this up. Bredgar is a village just South of Sittingbourne; or, these days, just South of the M2 motorway.

I have collated the words with the version in the Oxford Book of Carols, which Sharp collected from Mrs Eliza Woodberry, of Ash Priors, Somerset.

I recorded this with Magpie Lane on our CD Six for Gold, and it is in the setlist for our Christmas shows this year – over the next couple of weekends we are playing at Woking, Oxford and Reading; see for details.


Andy Turner: vocal, C/G anglo-concertina

'Lazerus' from the Collinson MSS, via the Take Six archive

April 6, 2012

Week 33 – The Leaves of Life

A suitably sombre song for Good Friday. I learned this many, many years ago from the singing of Norma Waterson on the Watersons’ seminal 1965 LP Frost and Fire. (A note for the uninitiated: it is a legal requirement that certain album titles be preceded by the word “seminal”, and Frost and Fire is certainly one of those).

The sleeve notes to the LP, written by A.L. Lloyd, say:

This spring-time ballad-carol tells a story based on the Apocryphal Gospels, concerning a trip made by Mary to see her son at Calvary, in the company of seven virgins. The opening recalls the handsome illuminations in the Arundel Psalter, showing the sombre tree of death with its dismal birds, and the dazzling tree of life with iridescent leaves. The parallel between the death and resurrection of Christ and the ritual slaying and renewal of the divine kings of pagan belief (echoed in the mumming plays) needs no stressing.

The carol is included in A Good Christmas Box, published in Dudley in 1847 (although clearly this is not actually a Christmas carol). Sharp and Vaughan Williams both collected a number of versions, all in Shropshire and Herefordshire. Vaughan Williams included the carol in Twelve Traditional Carols from Herefordshire  and then in the Oxford Book of Carols. The notes to the latter say:

Melody and a version of the text from Mrs Whatton and Mrs Loveridge, The Homme, Dilwyn. From Twelve Traditional Carols from Herefordshire (Leather and Vaughan Williams), Stainer & Bell. Cf Popular Carols, by F Sidwick (Sidwick and Jackson). This fine example of the way in which a mystical vision is created by the best folk-poetry appeared in the Staffordshire A Good Christmas Box. 1847, Sylvester (1861) printed a version of it from an ‘old Birmingham broadside’. Sir A Quiller-Couch included it in the Oxford Book of English Verse, and Walter de la Mare in Come Hither.

In really important news yesterday, the English Folk Dance & Song Society announced that they had been successful in applying for funding to proceed with the Full English project. This will digitise and make freely available the folk song collections of Cecil Sharp, Vaughan Williams, Lucy Broadwood and a host of others. So in future, if we want for instance to check out all of the collected versions of this song, we will be able to do so at the click of a mouse. Excellent news.

One of the versions which Vaughan Williams collected came from the gypsy singer Mrs Esther Smith, mother of May Bradley, from whom Fred Hamer recorded the song some 50 years later. You can hear May Bradley sing the song on the Musical Traditions CD Sweet Swansea.

The Leaves of Life

Crucifixion, The Arundel Psalter f.52v (British Library)

Crucifixion, The Arundel Psalter f.52v (British Library)